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Scott Kinkoph

BYOD: Increase Chances for Success! - 0 views

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started by Scott Kinkoph on 22 Oct 12 no follow-up yet
Dennis OConnor

The Wrath Against Khan: Why Some Educators Are Questioning Khan Academy - 0 views

www.hackeducation.com/...s-are-questioning-khan-academy

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shared by Dennis OConnor on 28 Mar 12 - No Cached
  • While "technology will replace teachers" seems like a silly argument to make, one need only look at the state of most school budgets and know that something's got to give. And lately, that something looks like teachers' jobs, particularly to those on the receiving end of pink slips. Granted, we haven't implemented a robot army of teachers to replace those expensive human salaries yet (South Korea is working on the robot teacher technology. I'll keep you posted.). But we are laying off teachers in mass numbers. Teachers know their jobs are on the line, something that's incredibly demoralizing for a profession already struggles mightily to retain qualified people.
  • it's hard not to see that wealth as having political not just economic impact. Indeed, the same week that Bill Gates spoke to the Council of Chief State School Officers about ending pay increases for graduate degrees in teaching, Secretary of Education Arne Duncan issued almost the very same statement. What does all of this have to do with Sal Khan? Well, nothing... and everything.
  • One of education historian Diane Ravitch's oft-uttered complaints is that we now have a bunch of billionaires like Gates dictating education policy and education reform, without ever having been classroom teachers themselves (or without having attended public school). But the skepticism about Khan Academy isn't just a matter of wealth or credentials of Khan or his backers. It's a matter of pedagogy.
  • ...2 more annotations...
  • No doubt, Khan has done something incredible by creating thousands of videos, distributing them online for free, and now designing an analytics dashboard for people to monitor and guide students' movements through the Khan Academy material. And no doubt, lots of people say they've learned a lot by watching the videos. The ability pause, rewind, and replay is often cited as the difference between "getting" the subject matter through classroom instruction and "getting it" via Khan Academy's lecture-demonstrations.
  • Although there's a tech component here that makes this appear innovative, that's really a matter of form, not content, that's new. There's actually very little in the videos that distinguishes Khan from "traditional" teaching. A teacher talks. Students listen. And that's "learning." Repeat over and over again (Pause, rewind, replay in this case). And that's "drilling."
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How to Cut Down on Unwanted Email? - 0 views

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shared by tech vedic on 17 Jul 13 - No Cached
  • tech vedic on 17 Jul 13
     
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E-Commerce Security Tips - 0 views

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shared by tech vedic on 23 Jul 13 - No Cached
  • tech vedic on 23 Jul 13
     
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  • ankita ojha on 06 Mar 13
     
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Phil Taylor

7 Ways You Can Use Texting to Your Advantage in the Classroom | Edudemic - 0 views

www.edudemic.com/ys-texting-advantage-classroom

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shared by Phil Taylor on 04 Dec 14 - No Cached
  • John Evans on 04 Dec 14
     
    "If you were to take a glance around a classroom in which no smartphone policy has been set, it would be easy to conclude that texting at school is nothing but a distraction. Just look at all of those bent heads and rapidly moving thumbs! Take a look at the caliber of those texts - "wat r u doing l8er" - and it would also be easy to assume texting will one day bring about the end of literacy and analytical thought, if it hasn't already. This may be true - and it may also not be. The studies in this area are even newer than texting itself, and results are mixed, with one study indicating that texting makes students worse in one academic area while another study finds the opposite. Let's take a closer look at the good and the bad of texting, as well as at a few ways you can harness the benefits for the good of your classroom."
Phil Taylor

The top 10 edtech lessons I've learnt after 15 years in schools - Karl Rivers - Medium - 4 views

medium.com/...-years-in-schools-8b448f29f55c

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shared by Phil Taylor on 04 Mar 16 - No Cached
  • The answer is that Google Classroom doesn't take any effort to use.
  • It’s about people not technology
  • There’s no such thing as a digital native
  • ...5 more annotations...
  • Always read the terms and conditions
  • I’m all for teachers experimenting with new apps, but please read the Ts and Cs before sighing up your students.
  • ntirely new concepts of technology are flooding into the industry every day, and it’s impossible to keep up. The best we can do is put in place policies an procedures to allow our teachers and students to take advantage of them in a safe and secure way.
  • Forget about hardware, the Internet is the platform of the future
  • Keep your data and your devices independent. Become device agnostic. Forget hardware and operating systems and become a cross-platform service provider.
Sheri Oberman

Change Article Brief: Development of Teaching Practices Inventory as Proxy for Eval - 1 views

tomprof.standford.edu/...1446

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shared by Sheri Oberman on 17 Nov 15 - No Cached
  • Sheri Oberman on 17 Nov 15
     
    The posting below looks at a new approach to evaluating teaching. It is by Carl Wieman a professor of physics and of the Graduate School of Education at Stanford University. He is the founder of the Carl Wieman Science Education Initiative (CWSEI) at the University of British Columbia and the Science Education Initiative at the University of Colorado. He is a Nobel Laureate in Physics and served as the Associate Director for Science in the White House Office of Science and Technology Policy. Cwieman@stanford.edu, 650 - 497-3491. The posting is a condensed version of a substantially longer article that appeared in the January, 2015 issue of Change Magazine. http://www.changemag.org Regards, Rick Reis
Phil Taylor

Young Canadians in a Wired World, Phase III: Connected to Learn | MediaSmarts - 0 views

mediasmarts.ca/...orld-phase-iii-connected-learn

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shared by Phil Taylor on 05 Apr 16 - No Cached
  • understand how networked technologies are impacting teachers and their teaching practices, in 2015 MediaSmarts partnered with the Canadian Teachers’ Federation to survey 4,043 K-12
Phil Taylor

We are not addicted to smartphones, we are addicted to social interaction - 4 views

medicalxpress.com/...phones-social-interaction.html

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shared by Phil Taylor on 08 Mar 18 - No Cached
  • Healthy urges can become unhealthy addictions
  • Turning off push notifications and setting up appropriate times to check your phone can go a long way to regain control over smartphone
  • workplace policies "that prohibit evening and weekend emails" are also important
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shared by usasmmcity24 on 09 Mar 24 - No Cached
  • usasmmcity24 on 09 Mar 24
     
    Buy Negative Google Reviews In today's digital world, online review play a crucial role in shaping consumer decisions. Positive reviews can help businesses attract new customers and build a solid reputation, while negative reviews can have the opposite effect, potentially driving potential clients away. In an attempt to combat this, some businesses have resorted to unethical practices, such as buying negative Google reviews for their competitors. This devious strategy aims to tarnish a competitor's reputation and gain an unfair advantage in the market. In this article, we will delve into the controversial practice of buying negative Google reviews, exploring its implications for businesses and consumers alike, and discussing the ethical concerns surrounding this nefarious tactic. What are negative Google reviews? In today's digital age, online review have become an integral part of our decision-making process. Whether we're searching for a local restaurant, a reputable plumbing service, or a new product to buy, we often turn to platforms like Google to read what others have said about their experiences. Positive reviews reassure us, while negative ones raise concerns and prompt us to reconsider our options. Negative Google reviews are user-generated testimonials that reflect a poor experience or dissatisfaction with a particular business or service. These reviews typically express frustration, disappointment, or anger towards the company, its products, or its customer service. While some negative reviews are constructive and provide genuine feedback, others may be exaggerated or even fabricated. To understand negative Google reviews, it is important to recognize that they serve multiple purposes. First and foremost, they offer a means for customers to voice their opinions and share their experiences with others. For many people, leaving a negative review can be a form of catharsis or a way to warn others of potential pitfalls. It also holds businesses ac
John Evans

The Plagiarism Factory  - Copy, Paste, Forget? - The AI English Teacher - 1 views

theaienglishteacher.wordpress.com/...rism-factory-copy-paste-forget

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shared by John Evans on 05 Jun 24 - No Cached
  • John Evans on 05 Jun 24
     
    "Top of the list of objections to AI seems to be plagiarism and academic dishonesty, with students potentially using AI tools to generate entire essays or assignments they then present as their own work. "
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  • buy5starshop4165 on 27 Apr 25
     
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Clint Hamada

The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 8 views

www.centerforsocialmedia.org/...e_for_media_literacy_education

Best Practice Fair Use literacy CC copyright guide guidelines

shared by Clint Hamada on 07 Apr 10 - Cached
  • Fair use is the right to use copyrighted material without permission or payment under some circumstances—especially when the cultural or social benefits of the use are predominant.
  • This guide identifies five principles that represent the media literacy education community’s current consensus about acceptable practices for the fair use of copyrighted materials
  • This code of best practices does not tell you the limits of fair use rights.
  • ...51 more annotations...
  • Media literacy is the capacity to access, analyze, evaluate, and communicate messages in a wide variety of forms. This expanded conceptualization of literacy responds to the demands of cultural participation in the twenty-first century.
  • Media literacy education helps people of all ages to be critical thinkers, effective communicators, and active citizens.
  • Rather than transforming the media material in question, they use that content for essentially the same purposes for which it originally was intended—to instruct or to entertain.
  • four types of considerations mentioned in the law: the nature of the use, the nature of the work used, the extent of the use, and its economic effect (the so-called "four factors").
  • this guide addresses another set of issues: the transformative uses of copyright materials in media literacy education that can flourish only with a robust understanding of fair use
  • Lack of clarity reduces learning and limits the ability to use digital tools. Some educators close their classroom doors and hide what they fear is infringement; others hyper-comply with imagined rules that are far stricter than the law requires, limiting the effectiveness of their teaching and their students’ learning.
  • However, there have been no important court decisions—in fact, very few decisions of any kind—that actually interpret and apply the doctrine in an educational context.
  • But copying, quoting, and generally re-using existing cultural material can be, under some circumstances, a critically important part of generating new culture. In fact, the cultural value of copying is so well established that it is written into the social bargain at the heart of copyright law. The bargain is this: we as a society give limited property rights to creators to encourage them to produce culture; at the same time, we give other creators the chance to use that same copyrighted material, without permission or payment, in some circumstances. Without the second half of the bargain, we could all lose important new cultural work.
  • specific exemptions for teachers in Sections 110(1) and (2) of the Copyright Act (for "face-to-face" in the classroom and equivalent distance practices in distance education
  • In reviewing the history of fair use litigation, we find that judges return again and again to two key questions: • Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than that of the original, or did it just repeat the work for the same intent and value as the original? • Was the material taken appropriate in kind and amount, considering the nature of the copyrighted work and of the use?
  • Fair use is in wide and vigorous use today in many professional communities. For example, historians regularly quote both other historians’ writings and textual sources; filmmakers and visual artists use, reinterpret, and critique copyright material; while scholars illustrate cultural commentary with textual, visual, and musical examples.
  • Fair use is healthy and vigorous in daily broadcast television news, where references to popular films, classic TV programs, archival images, and popular songs are constant and routinely unlicensed.
  • many publications for educators reproduce the guidelines uncritically, presenting them as standards that must be adhered to in order to act lawfully.
  • Experts (often non-lawyers) give conference workshops for K–12 teachers, technology coordinators, and library or media specialists where these guidelines and similar sets of purported rules are presented with rigid, official-looking tables and charts.
  • this is an area in which educators themselves should be leaders rather than followers. Often, they can assert their own rights under fair use to make these decisions on their own, without approval.
  • ducators should share their knowledge of fair use rights with library and media specialists, technology specialists, and other school leaders to assure that their fair use rights are put into institutional practice.
  • Through its five principles, this code of best practices identifies five sets of current practices in the use of copyrighted materials in media literacy education to which the doctrine of fair use clearly applies.
  • When students or educators use copyrighted materials in their own creative work outside of an educational context, they can rely on fair use guidelines created by other creator groups, including documentary filmmakers and online video producers.
  • In all cases, a digital copy is the same as a hard copy in terms of fair use
  • When a user’s copy was obtained illegally or in bad faith, that fact may affect fair use analysis.
  • Otherwise, of course, where a use is fair, it is irrelevant whether the source of the content in question was a recorded over-the-air broadcast, a teacher’s personal copy of a newspaper or a DVD, or a rented or borrowed piece of media.
  • The principles are all subject to a "rule of proportionality." Educators’ and students’ fair use rights extend to the portions of copyrighted works that they need to accomplish their educational goals
  • Educators use television news, advertising, movies, still images, newspaper and magazine articles, Web sites, video games, and other copyrighted material to build critical-thinking and communication skills.
  • nder fair use, educators using the concepts and techniques of media literacy can choose illustrative material from the full range of copyrighted sources and make them available to learners, in class, in workshops, in informal mentoring and teaching settings, and on school-related Web sites.
  • Whenever possible, educators should provide proper attribution and model citation practices that are appropriate to the form and context of use.
  • Where illustrative material is made available in digital formats, educators should provide reasonable protection against third-party access and downloads.
  • Teachers use copyrighted materials in the creation of lesson plans, materials, tool kits, and curricula in order to apply the principles of media literacy education and use digital technologies effectively in an educational context
  • Wherever possible, educators should provide attribution for quoted material, and of course they should use only what is necessary for the educational goal or purpose.
  • Educators using concepts and techniques of media literacy should be able to share effective examples of teaching about media and meaning with one another, including lessons and resource materials.
  • fair use applies to commercial materials as well as those produced outside the marketplace model.
  • curriculum developers should be especially careful to choose illustrations from copyrighted media that are necessary to meet the educational objectives of the lesson, using only what furthers the educational goal or purpose for which it is being made.
  • Curriculum developers should not rely on fair use when using copyrighted third-party images or texts to promote their materials
  • Students strengthen media literacy skills by creating messages and using such symbolic forms as language, images, sound, music, and digital media to express and share meaning. In learning to use video editing software and in creating remix videos, students learn how juxtaposition reshapes meaning. Students include excerpts from copyrighted material in their own creative work for many purposes, including for comment and criticism, for illustration, to stimulate public discussion, or in incidental or accidental ways
  • educators using concepts and techniques of media literacy should be free to enable learners to incorporate, modify, and re-present existing media objects in their own classroom work
  • Media production can foster and deepen awareness of the constructed nature of all media, one of the key concepts of media literacy. The basis for fair use here is embedded in good pedagogy.
  • Students’ use of copyrighted material should not be a substitute for creative effort
  • how their use of a copyrighted work repurposes or transforms the original
  • cannot rely on fair use when their goal is simply to establish a mood or convey an emotional tone, or when they employ popular songs simply to exploit their appeal and popularity.
  • Students should be encouraged to make their own careful assessments of fair use and should be reminded that attribution, in itself, does not convert an infringing use into a fair one.
  • Students who are expected to behave responsibly as media creators and who are encouraged to reach other people outside the classroom with their work learn most deeply.
  • . In some cases, widespread distribution of students’ work (via the Internet, for example) is appropriate. If student work that incorporates, modifies, and re-presents existing media content meets the transformativeness standard, it can be distributed to wide audiences under the doctrine of fair use.
  • educators should take the opportunity to model the real-world permissions process, with explicit emphasis not only on how that process works, but also on how it affects media making.
  • educators should explore with students the distinction between material that should be licensed, material that is in the public domain or otherwise openly available, and copyrighted material that is subject to fair use.
  • ethical obligation to provide proper attribution also should be examined
  • Most "copyright education" that educators and learners have encountered has been shaped by the concerns of commercial copyright holders, whose understandable concern about large-scale copyright piracy has caused them to equate any unlicensed use of copyrighted material with stealing
  • This code of best practices, by contrast, is shaped by educators for educators and the learners they serve, with the help of legal advisors. As an important first step in reclaiming their fair use rights, educators should employ this document to inform their own practices in the classroom and beyond.
  • Many school policies are based on so-called negotiated fair use guidelines, as discussed above. In their implementation of those guidelines, systems tend to confuse a limited "safe harbor" zone of absolute security with the entire range of possibility that fair use makes available.
  • Using an appropriate excerpt from copyrighted material to illustrate a key idea in the course of teaching is likely to be a fair use, for example.
  • Indeed, the Copyright Act itself makes it clear that educational uses will often be considered fair because they add important pedagogical value to referenced media objects
  • So if work is going to be shared widely, it is good to be able to rely on transformativeness.
  • We don’t know of any lawsuit actually brought by an American media company against an educator over the use of media in the educational process.
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